Leny Andrade - Bossa Nossa: Leny Andrade Canta Fred Calcao

Bitrate: MP3@320K/s
Time: 39:35
Size: 90.6 MB
Styles: Bossa Nova
Year: 2018
Art: Front

[2:30] 1. O Amor Pegou Na Veia
[3:14] 2. Maré Cheia
[3:54] 3. Instantâneos
[3:42] 4. Promessa Temporã
[4:06] 5. Inútil Resistir
[3:01] 6. Alô Donato
[3:27] 7. Bossa Nossa
[3:04] 8. Janela Aberta
[2:44] 9. Pedaço De Amor
[3:38] 10. Motivo Pra Vida
[3:19] 11. Tons De Ipanema
[2:51] 12. Valsa De Ipanema

Leny Andrade Lima, known by the stage name LENY ANDRADE considered by many the greatest Brazilian jazz samba singer, was born in Rio de Janeiro, on January 25, 1943, and is a singer of Brazilian music.

At six years old, Leny Andrade began playing piano. At nine, she entered the Brazilian Conservatory of Music and the fifteen already appeared as "crooner" orchestras. As a girl, she sang with the trio of Sergio Mendes at the time of the Lane. Born in Rio de Janeiro, debuted professionally at age 15, the only singing crooner Dick Farney in the orchestra. She recorded her first LP in 1961 called "The Feeling". The following year, released the LP "The Art Major Leny Andrade".

In the 60s, with Pery Ribeiro and Bossa Three group, with whom she recorded her first live album, debuted at the nightclub Basement 73 the anthology show "Gemini 5" Ronaldo Bôscoli and Miele, show that this caused her move to Mexico where she lived for five years. In 1965 she broke with the disc in mulatto "We are there" especially the title track of Mauricio Einhorn, Durval Ferreira and Regina Werneck. Embarked on the forefront of samba in the 70s, with the disc "Uproar" and closed the decade with the album "Record" a work remarkable samba-jazz. Singing alongside artists like Luiz Eca, Wagner Tiso, Eumir Deodato, Francis Hime, Gilson Peranzzetta and João Donato, Leny Andrade became known for her remarkable ability to improvise.

Leny Andrade is a favorite of musicians and has performed with Paquito D'Rivera, Toots Thielemans, Fred Hersch, Roberto Menescal, Cesar Camargo Mariano, Leo Gandelman, Trio Chain Sambop Quintet, Mauricio Einhorn, Romero Lubambo, João Carlos Coutinho, and several other renowned musicians. The eclectic style of Leny Andrade is a synthesis of samba, jazz, MPB, bolero, songs, ballads, in short, good music.

Bossa Nossa: Leny Andrade Canta Fred Calcao mc
Bossa Nossa: Leny Andrade Canta Fred Calcao zippy

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Various - Roberto Menescal: 55 Years Of Music

Bitrate: MP3@320K/s
Time: 60:40
Size: 138.9 MB
Styles: Bossa Nova, Samba, Brazilian Traditions
Year: 2013
Art: Front

[5:38] 1. Leila Pinheiro - Ah Se Eu Pudesse O Barquinho Voce Nos E O Mar
[2:19] 2. Emilio Santiago - Amanheendo
[4:20] 3. Daira Saboia - Floripa
[3:55] 4. Os Cariocas - Copacabana De Sempre
[2:43] 5. Leny Andrade - Nas Quebradas Da Vida
[2:28] 6. Arimatea - A Morte De Um Deus De Sal
[2:36] 7. Astrid - Vai De Vez (Original Version)
[4:26] 8. Bebossa - Rio Exaltacao
[4:05] 9. Roberto Menescal & Cris Delano - Eu E A Música
[4:05] 10. Oswaldo Montenegro - Eu Canto Meu Blues
[3:59] 11. Wanda Sá - A Volta
[2:50] 12. Roberto Menescal - Voce Me Ganhou
[4:03] 13. Joyce - Nara
[2:23] 14. Andrea Amorim - Rio
[3:03] 15. Maria Luiza - Assim Como Um Amor
[3:53] 16. Roberto Menescal & Trio - Swingueira
[3:46] 17. Tamy - Me Diz

The composer of bossa nova classics like "O Barquinho," "Ah, Se Eu Pudesse," "Errinho à Tôa," "Nós e o Mar," "Rio," "Você," and "Vagamente," Roberto Menescal started his professional career in 1957 as Sylvia Telles' sideman (on guitar) in a tour around Brazil. In 1958, he opened a guitar school in Copacabana (Rio) with Carlos Lyra, having as his pupils Nara Leão and his sister Danuza Leão. In the same year, he formed, with Luís Carlos Vinhas, João Mário, Henrique, and Bebeto, the Conjunto Roberto Menescal, one of the first instrumental groups of bossa nova. The group accompanied Dorival Caymmi, Vinícius de Moraes, Billy Blanco, Maysa, and Telles. Also in 1958, he participated, with Telles, Carlos Lyra, and other artists, in a show at the Clube Hebraica (Rio), when the words "bossa nova" were used (inadvertently, by the club's secretary) for the first time to advertise the event. Having taken part with his group in the recording of Garotos da Bossa Nova in 1959, he participated in the I Festival de Samba Session at the Teatro de Arena theater of the School of Architecture at the State University of Rio de Janeiro. Such informal venues were important vehicles for bossa nova among the middle-class university people who were more inclined to absorb and disseminate it, and Menescal was instrumental for the promotion of such concerts in 1959, 1960, and 1961. Also in 1959, he had his first recorded composition, "Jura de Pombo" (with Ronaldo Bôscoli), by Alaíde Costa. His "O Barquinho" (with Ronaldo Bôscoli), a bossa nova classic, was simultaneously recorded by Maysa, Perry Ribeiro, and Paulinho Nogueira in 1960. In 1962, he accompanied Maysa in her Argentinean tour and, with Eumir Deodato's group, he performed in Marlene's program on TV Rio, having been hired for two years with his own group to back up artists on that TV station. In November 1962, he participated in the historic Bossa Nova Festival at Carnegie Hall in New York, NY, with Tom Jobim, Carlos Lyra, and others, interpreting "O Barquinho" in one of his few performances as a singer. From 1964 to 1968, he worked as an arranger and, invited by André Midani, he started to work as an independent producer and arranger at Polygram. In 1968, he accompanied Elis Regina in her performance at the MIDEM (International Phonographic Market and Music Publishers) in Cannes, France, and in her subsequent European tour, having been Regina's sideman until 1970, when he became Polygram's A&R. Already established as a major producer (having worked with Caetano Veloso, Gilberto Gil, Jorge Ben Jor, Gal Costa, Maria Bethânia, and many others), instrumentalist (as a session man he worked with Lúcio Alves, Maysa, Claudette Soares, Nara Leão, Jair Rodrigues, and Elis Regina), he had several compositions of his included in soundtracks of broadly popular TV soap operas and also wrote music for the cinema (Bye Bye Brasil, Joana Francesa, both by Cacá Diegues, and Vai Trabalhar Vagabundo, by Hugo Carvana). In 1985, having accompanied Nara Leão in performances in Brazil and abroad, he launched with her the LP Um Cantinho, Um Violão/Nara Leão e Roberto Menescal. In the next year, he abandoned his career in A&R and dedicated himself to his solo career. He has also been participating in jazz projects, among others with Joe Henderson. In 2001, he participated with Wanda Sá, Danilo Caymmi, and Marcos Valle in the Fare Festival (Pavia, Italy). Menescal also owns the label Albatroz, which released albums by Danilo Caymmi, Emílio Santiago, and others. ~bio by Alvaro Neder

Roberto Menescal: 55 Years Of Music mc
Roberto Menescal: 55 Years Of Music zippy

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Leny Andrade - Bossas Novas

Bitrate: MP3@320K/s
Time: 45:43
Size: 104.7 MB
Styles: Bossa Nova, Brazilian jazz
Year: 1998/2013
Art: Front

[2:33] 1. E Nada Mais
[4:17] 2. Canto Livre
[3:22] 3. Pode Ir
[2:57] 4. Ao Amigo Tom
[4:57] 5. Dois Corações
[2:44] 6. Nas Quebradas Da Vida
[3:18] 7. Esperança Perdida
[2:23] 8. O Chinês E A Bicicleta
[3:13] 9. Pássaro Imortal
[2:48] 10. Pra Que Chorar
[3:51] 11. Alegria Para Cantar
[2:39] 12. Samba Da Pergunta
[2:59] 13. Abajur Lilás
[3:35] 14. I'll See You In Rio

Andrade, considered by many the greatest singer of Brazilian jazz, has never had great commercial success, but is a well-respected jazz artist. She has been described by Tony Bennett as the "Ella Fitzgerald of Brazil". In Europe where she toured, she was the Brazilian First Lady of Jazz, building a huge fan base in the Netherlands and Italy.

New York Times critic Stephen Holden wrote of Andrade's performance at Birdland on August 27, 2008, "To describe Ms. Andrade as both the Sarah Vaughan and Ella Fitzgerald of bossa nova only goes so far in evoking a performer whose voice seems to contain the body and soul of Brazil."

Bossas Novas

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Leny Andrade & Roni Ben-Hur - Alegria De Viver

Styles: Bossa Nova, MPB
Year: 2015
File: MP3@320K/s
Time: 46:50
Size: 110,8 MB
Art: Front

(3:11)  1. Samba Iluminado
(2:55)  2. Balanço Zona Sul
(5:49)  3. Dindi
(4:54)  4. Refém Da Solidão
(3:10)  5. Estrada Branca
(2:34)  6. Alegria De Viver
(2:58)  7. Cantador
(3:07)  8. É Preciso Perdoar
(3:22)  9. Carinhoso
(2:53) 10. Passa Por Mim
(2:17) 11. Rugas
(3:15) 12. Ana Luisa
(2:30) 13. Una Manana
(3:51) 14. O Que É Amar

It’s hard to argue with Tony Bennett when he describes Leny Andrade as the “Ella Fitzgerald of Brasil”. Anyone who has heard Ms. Andrade live or on record will agree. Her sublime artistry is born of integrity and intensity. She indulges in a harmonically rich turn of phrase, clothed in beautifully balanced and largely polyphonic textures that still feel like gossamer and when she turns up the heat as rich and sensuous as raw silk. Described as having a dynamic voice capable of stunning leaps from an upper register, to dramatic plunges into gravity-defying depths, Leny Andrade is no ordinary mezzo-soprano. Her singing comes on a generous scale with a wide range and bags of personality easily enough to encompass every aspect of the Brasilian cultural ethos.

Ms. Andrade is accompanied by an equally dynamic instrumental personality: Roni Ben-Hur. The guitarist is an inspired choice for this date. Mr. Ben-Hur concentrates on the sonorities of his instrument treating the colours it makes as independent of Leny Andrade’s uncommonly lush notes, doing justice to it (his guitar) in his warm old-school playing as he manages to pull multiple melodious lines which he weaves deftly into his seemingly diaphanous harmonic canvas. His mannerisms are cultured. They spark reflective utterances as a framing stimulus towards the rhapsodic melismas that dance their way out from the vocalastics of Ms. Andrade. It is hard to imagine another pairing for this repertoire or any other for that matter.

One of the challenges that even Brasilian artists face when attempting a programme is steering clear of the tried and tested and often all-too-familiar, even tried Brasilian standards. This record, Alegria de Viver pulls music out of surprising, under-represented catalogues. Of course, you cannot avoid the music of Baden Powell, Vinicius De Moraes, Pixinguinha, Antonio Carlos Jobim and Dori Caymmi, certainly not if you are intent on making a good record. Then turning it into something great is a matter of good taste and inhabiting the songs from the inside out. Few vocalists from Brasil can do this with as much facility as Leny Andrade.

Leny Andrade does great things with the lyric and the music throughout the repertoire. If anything is to be singled out for special mention – an unfair task in this instance I may as well recommend “Carinhoso” and “O Que é Amar” the latter is a rarely performed piece by one of Brasil’s most gifted sons Johnny Alf. It does bear mention that the album is breathtaking from end to end, though. Together, Leny Andrade and Roni Ben-Hur lay it all out for us in one superbly rich and eloquent verse after the other, representing art at its most sublime. The profound romanticism of Brasilian storylines is magically matched by the high drama of the delivers of lyrics. Both artists allow the music to evolve with a wonderful feeling of spaciousness in which the intense musical textures of these pieces are beautifully revealed. http://latinjazznet.com/2015/10/04/reviews/cds/album-of-the-week/leny-andrade-roni-ben-hur-alegria-de-viver/

Personnel: Leny Andrade: vocals; Roni Ben-Hur: guitar.

Alegria De Viver

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Leny Andrade - Embraceable You

Size: 121,3 MB
Time: 51:41
File: MP3 @ 320K/s
Released: 1993
Styles: Jazz Vocals, Brazilian Jazz
Art: Full

01. Misty (6:06)
02. Autumn Leaves (3:43)
03. The Man I Love (5:44)
04. Night And Day (3:30)
05. Embraceable You (4:06)
06. Stella By Starlight (4:06)
07. Body And Soul (5:41)
08. Satin Doll (4:57)
09. Watch What Happens (3:28)
10. Just In Time (2:33)
11. The Shadow Of Your Smile (4:35)
12. 'S Wonderful (3:06)

Born in Rio de Janeiro, the Brazilian singer Leny Andrade has toured the world and won countless accolades. At the age of nine, only three years after beginning to play the piano, Andrade won a scholarship to the Brazilian Conservatory of Music in Rio. At the age of eleven, she was invited to sing in a children's program at Radio Tupi, where she performed weekly for two years. At fifteen, she had her first professional gig as a singer with the orchestra of Maestro Perminio Goncalves.

From then on, Andrade performed almost constantly, both with groups and solo. While she was still underaged, she performed in two of the hippest clubs of the era: Bottles Bar and Bacara Club with the Sergio Mendes Trio. In the late 1950's, Andrade was already a well-established performer, and the Bossa Nova surge of the time launched her recording career and won her international recognition.

Andrade has starred in many musicals, such as Rio, Bossa, and Balanco and Gemini 5 in Rio and in Mexico City, and after Gemini 5''s run ended, she stayed in Mexico for five years, performing in clubs and on television and becoming one of the most popular artists in all of Mexico.

Back in Brazil, Andrade assumed her position as a "musician's singer," based on her incredible ability to improvise and her flair at scat singing. She toured all over Latin America while recording many albums and appearing in musical theater and on television.

Andrade has invited to perform in jazz festivals all over the world; she has been featured in festivals from Sweden to Spain and almost everywhere in between. Jazzman Paquito D'Rivera even composed a song inspired by her, "For Leny," which was included on his album Manhattan Burn.

The New York Times describes her: "like Sarah Vaughan, Andrade has a large, rich voice that becomes a mighty baritone when she dips into her lower register ... she possesses a lusty, free-flowing passion that packs every phrase with an earthy sensuality." Leny Andrade's Chesky Records release, her first American recording, Maiden Voyage (JD113) has been lauded as "an elegant, sophisticated voyage into high-voltage jazz which will leave you breathless."

During the recording session for Maiden Voyage, Andrade leaned forward in her chair and pronounced slowly, "I pay the price of every word I sing." Throughout a career which has spanned almost half a century, that has certainly been true. Now, Chesky Records proudly introduces to the US this intense first lady of Brazilian jazz, Leny Andrade.

Embraceable You

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